[jdzng04]

Spirited Away (2001) dir. Hayao Miyazaki

Though I'd seen this film on plenty of times like most of the class, it still is always a heartwarming film to revisit and destress to, especially as finals are looming near. It's probably already been made obvious and said over and over, but Miyazaki's Spirited Away seems to charmingly simplify issues of environmentalism and conservationism, on top of covering themes of the seven sins through the various characters that Chihiro meets in the bathhouse.

For those of you who don't know, the seven deadly sins according to Roman Catholic theology are pride, greed, lust, envy, gluttony, wrath, and sloth. We see first the representation of pride, envy, and wrath through the character of Yubaba, the matriarch of the bathhouse. She's this overbearing and ruthless leader who gives no mercy to those seemingly inferior to her, especially when we see her repeatedly deny giving a job to Chihiro. We then see this exterior broken down though when having to console her baby Boh when he throws a tantrum. Her apparent jealousy and insistence on being the better twin over her sister Zeniba is also another indicator of the large amount of envy she holds over others who may threaten her sense of security with herself.

Gluttony is first seen very obviously when Chihiro's parents explore the marketplace and eat the large amounts of food that appear, eventually turning into pigs as a punishment for their gluttonous desires. We then see this again with the character of No Face, who starts to invade the bathhouse and eat up most of the house's constituents and the food they serve them. This is then met with the subsequent consequence of being fed the medicine by Chihiro and throwing everything and everyone up that they've eaten.

The sin of sloth can be seen (to some extent) with Yubaba's baby Boh, and the insistent tantrums and threats thrown if they don't get their way with things. While (in my opinion) an understandable reaction, this also gets met with a punishment through Boh being turned into a mouse and treated harshly by Yubaba, who doesn't know he's turned into a mouse.

Lastly, themes of environmentalism and conservationism are made aware when a large stink spirit comes into the bathhouse and attempts to take a bath. As the stink spirit is being washed and cleaned, we eventually see a bike amongst other large amounts of physical junk being released, seemingly reminiscent of the amounts of trash released into oceans and rivers everyday today. All in all, Spirited Away is a breathtaking children's animated film that combines real-world issues and flaws into something more accessible for people across all ages to see and understand.

[jessiepinkmanlover]

I thought the analysis on the seven deadly sins was spot on and thought provoking. I thought the commentary on greed was obvious but I hadn’t really realized the film really encompasses all the sins. I think commenting on such serious concepts of humanity in such a playful way is incredibly impressive and only made me appreciate this film more. 

[jessiepinkmanlover]

Spirited Away

This is probably the hardest blog post to write because…I mean…what else is there to say about Spirited Away that hasn’t been said. Miyazaki’s crown jewel of Studio Ghibli lives up to its stature even 20 years later. It is a breathtaking trip in a world full of wonder and imagination. The aspects that make Studio Ghibli the hallmark of animation are in full force in this film as its wholesomeness and eye-watering animation captivate your attention throughout the film. Its critique of capitalism is done in a subtle way as it is masked by the supernatural elements yet it is clear and effective. The innocent nature of the film allows this critique to really reach all audiences in a fun and exciting way even if the themes are relatively simple. The imagination brought to life in this movie became a hallmark for making animated movies meant for children but with ideas that can resonate through all walks of life. It is quintessential Studio Ghibli with its stunning visuals, simple humor, and reliance on visual storytelling to create a world full of life. 

The most interesting aspect of the film is probably its depiction of consumerism and greed which happens to be one of the 7 sins depicted in the film. The obvious example early on is Chihiro’s parents consuming an incomprehensible amount of food. The food is (as is in all Ghibli films) made to look incredible and the parents can not resist but stuff their faces with it. As a result, they turn into pigs which symbolizes the sloth-like gluttonous behavior of their consumption. Consumption is continuously critiqued through the obsession with gold in the bathhouse. The workers and more specifically, Chihiro, are continuously seen by Yubaba as beneath them as she only cares for potential profit. Her style even invokes western attire which is symbolic of the western attitude toward material and consumption. This is emphasized even further by taking her workers’ names when they are hired. A name is an inherent part of identity and the act of stripping this from someone alienates them from a central part of their humanity. This serves as a commentary on the alienation of the worker under capitalism as their sense of self in becoming a tool for the owners of production. 

This movie is flat-out great. It has interesting commentary without quite wearing its message on its sleeve. It is a film that kids can enjoy for the straight-up blast it is while learning to enjoy it for its more mature aspects as they in turn mature. It is one of the most comforting films I have ever seen and it truly is a model for making an animated movie. Probably does not beat Grave of the Fireflies for me but it comes awfully close. 

[saran-bar]

Sukiyaki Western Django

I was very, very confused throughout the film, but I still enjoyed it. First of all, I have never seen a film where the entire cast is speaking only in a language that isn't their mother tongue (with the exception of Tarantino). I can't help but compare this aspect of the film to Swallowtail Butterfly. However, while Swallowtail Butterfly's non-Japanese speakers were raised out of Japan, all of the characters here are meant to be Japanese, or at least that's what I assume because they have Japanese-sounding names. They also incorporated Japanese tales into the plot. Why, then, were they using English?

We've discussed a lot in class about how the "New New Wave" of Japanese cinema were making films that were aimed at receiving international acclaim. Although the film is perhaps not the typical festival-winning film style we are used to, the fact that they could put together a fully English-speaking film showcases their ability and universality of the Japanese film industry.

I’m not familiar with Westerns, Django, or Tarentino at all so I don’t know for sure if the film would have been easier to understand for those who did. But like I said before, whether or not the film was successful in making a film of its genre (Western/drama), its innovative ideas and commitment to the idea throughout is something to applaud. Like my classmates, I couldn’t tell if the film was trying to be serious or if it was self-aware of its ironic take the entire time. I find it hard to believe that the film I’m watching isn't a dark comedy when a guy’s head is cut open and he continues to clap his hands over his heads. Gunshots, stabs, and bleeding all follow a different biological rule than the one in our reality. However, any scene involving the son would draw me back in again. The fact that a child had to see and hear both his parents die horribly seemed like a plot that was too traumatizing to be put in as a mere comical scene.

Perhaps the film was trying to do both by telling the American Western story through the lens of a Japanese—someone who is an outsider. Elements like dragged out dying moments and amazing tricks with guns are things I associate with American westerns. These things aren’t realistic, but they’re filmed in a way to make us suspend our disbelief and enjoy them on screen. Sukiyaki Western Django, however, challenges us to see the ridiculousness of these classic film elements, yet asks us to appreciate them at the same time. It seems to be a great blend between the cultures that results in a uniquely wild product of entertainment.

[jessiepinkmanlover]

I agree with the point about the traumatizing scene with the son and the parents. I think it was a little too traumatizing to a point where it loses some of the ingenuity in intentionally being absurd. But I also think the scene may have been included as commentary on the typical tragic backstory trope. Overall, it really was a uniquely wild product of entertainment and the ridiculousness allows the viewer to step outside of the tropes they are criticizing.

[jessiepinkmanlover]

Suriyaki Western Django

This movie was a fever dream. It had next to no quality to its name and was beautiful nonetheless. I think Quentin Tarantino’s appearance in a western just about summarizes the cultural slugfest this film wants to take you through. It refuses to take itself seriously and its self awareness really allowed me to just sit back and laugh. This film really is a hot mess in in truest form through its ridiculous sets, dialogue, and hilariously stereotypical western character tropes. 

The writing was probably the most interesting aspect of the film to me. It paradoxically felt so alien that it became hypnotic. Comparable to witnessing a trainwreck and not being able to look away. In a way, this film is almost genius in its mocking of the idea westerns exclusively belong to American culture. The film title itself incorporates American, Japanese, and Italian words to highlight the hotpot of cultural influences and criticize the idea of rigid cultural gatekeeping. That said, this movie really just wants to have fun. It indulges in a plethora of iconic tropes and shots in film and has an elegant ridiculousness to it. It really embodies giving the viewer an experience through invoking a beautiful appreciation from within. It’s able to poke fun at stereotypes and cultural cornerstones without it bring taken in a serious or offending way. While on the surface incredibly campy, this film’s self-assuredness makes it feel smart as if its non-chalant attitude to appear with any semblance of quality elevates to interesting cultural influence. Maybe most importantly, it’s funny! If it missed the mark in the comedic department this film would just be one long eye-roll that feels like a cash-grab or cheap attempt at relevancy but its humor ensures it is a good time. 

Suriyaki Western Django is unironically good. Its intentional campiness allows you to both laugh and consider the absurdity of obsession with film tropes and cultural imprints. It seems to bite off more than it can chew at times occasionally going so hyper-referential it loses the point but I didn’t really mind. Do not take it seriously and it is actually a semi-interesting piece of cinema. 

and i mean... come on there’s tarantino

[rengokusflamingbussy]

Sweat Bean

I absolutely loved this movie, it has such a simple but heartfelt story with gorgeous scenery and shots sprinkled throughout the story; ngl I cried for the entire last 30 minutes of this movie.

I think that the main message of this film is that you have to look beyond the surface of things or rather look into something in order to understand and appreciate it; I would describe this film as a story of interiors and exteriors, that are seen in both people and places. This idea is first expressed in the dorayaki itself, as it is only once Tokue uses her An in the dorayaki that Sentarô actually enjoys it. 

Of course the film then shows that gaining a better understanding of things is not always easy, as Sentarô and Tokue have to rise early and spend hours preparing the An. However, this process is what allows Tokue to impart her ideas of stories to Sentarô even if he doesn’t realise it a first. 

The other way that the film explores this idea of interior and exterior is through Tokue herself. Although the only part of her appearance that is physically changed by the leprosy is her hands, she is still discriminated against and literally cast out from society. Yet despite this, she is a very kind and caring person who holds no anger towards the world or society. Similarly, the neighbourhood in which she lives is given negative connotations because of the people living in it, yet it is arguably one of the most scenic locations in the film. 

It is interesting, that this is the only place in the film that is dominated by nature rather than by the city. Perhaps this is done to highlight the way Tokue is more in tune with nature than the other characters, as she weaves stories from all parts of nature. I think this also links with her ability to see into people as well, as she did with Sentarô, she empathised with him and saw that he had a story to tell. 

Sentarô’s decision to leave the shop and have is own smaller stand is not only a way for him to escape his situation and the interior he was stuck in but also as a way to find his passion for dorayaki and become closer to Tokue. It is significant that his stall is outside, as it shows that he is now free from his burdens and is able to tell his own stories now. 

[saran-bar]

Wow! That analysis was on point! I think you really were on point when you said this is a film discussing the interiors and exteriors of people and places. I also noticed the importance of nature in the film. At the end when reading Tokue’s letter she talks about how she saw the sad gaze in Sentaro’s eyes which remained all throughout and especially when Tokue passed away. Afterwards, however, when Sentaro was selling dorayakis out in the open his face was completely lit up. I definitely agree that he was connecting to Tokue through the nature. Also, he was giving happiness to people and receiving it as well. It was a really beautiful film indeed.

[jessiepinkmanlover]

I love the way you brought up exteriors and interiors as a way of understanding the message this movie is trying to deliver. I understood this movie really was trying to look beyond the surface level hardships of life but didn’t really connect it to exteriors and interiors. This analysis made me appreciate this film even more so than I already did as I really connected the dorayaki’s to the inner beauty of life. This movie was so so beautiful.

[jessiepinkmanlover]

Sweet Bean - Kawase

 Everyone cooks in their own unique manner, and how you go about preparing a meal says a lot about your personality. Anyone can cook and this universality is what makes it such a fascinating act. It can bond or differentiate anyone and it is so integral to our humanity that it is truly an extension of the soul. It involves handling and transforming natural aspects of our world into creations of our imagination. It is the true embodiment of art. A transformation of the natural to the man-made for others' enjoyment. Sweet Bean understands the impact cooking can have on someone by showing its ability to inspire love in someone. 

Tokue is an elderly lady that has a sacred love and understanding for making bean paste yet must grapple with a condition that slowly cripples their physical faculties. It is a cruel twist of fate, yet she never once complains about her situation. She is full of wonder and the opportunity to continue to make bean paste is all she needs to feel satisfied. The dedication she has for her beans speaks to the impact love has on creation. Her bean paste is miles better than the store-bought ones Sentaro previously used because there is true love in her concoction. Her love is magnetic and the often closed-off Sentaro finds himself attracted to the pureness that is Tokue’s mind. She can not believe he would buy bean paste in bulk because it is an insult to the craft she has dedicated her life to and it is the exact cheapness and greed of modern society that she is appalled by. Tokue is infatuated with life itself and teaches Sentaro to find appreciation for the wholesomeness life has to offer. On several occasions, she expresses her love for the trees and the youthful whimsy of children. Sentaro, who expresses the kids as being noisy and has disdain for sweets, becomes infatuated with Tokue’s perspective on life. She invokes a love for life that was dormant within him and it is cooking the bean paste together that teaches him what true care for something can cultivate. 

This is now my favorite film we’ve seen in class and the best thing I have seen in a while. Sweet Bean reminds you just how beautiful life can be and how easy it is to take for granted. It leaves you with that warm fuzzy feeling on your brain that manages to only grow after watching. It has so much beauty it can be blinding and it is easy to get lost in its overwhelming emotions. But maybe that is the point. Life is overwhelming and it can be easy to get lost in its sheer infiniteness, but that’s what makes it so spectacular. This movie goes exactly where you expect as it lacks any one aspect that serves to blow viewers away but its simplicity speaks volumes. 

[cjloogy]

Pulse - 回路

As far as Japanese horror goes, this is not near the top of my list sadly. While I did appreciate some of the on-screen visuals and the atmosphere on display, the constant bouncing between two distinct plotlines and a rather muddled message that ended with a pretty jarring shift to an apocalyptic setting really bogged down any positive elements I saw here.

It seems like this movie came in around the height of the J-horror boom after Ring really caught the international attention, and this film set out to deliver further on ghost stories that avoided gore and violence over tension and atmosphere. Plenty of points were definitely unsettling, but overall, I feel like the plot fell victim to “this is only happening because every character has a lower IQ than average.” It’s an interesting enough premise, once I pieced together what it actually is, which is that the world of the dead is becoming overrun, and spirits are invading the world of the living, or so one of the characters claims. The devices that are used to help keep us connected are vulnerable to these invaders, and so the living become subject to their intense apathy and give up on life the same as these ghosts did. Rather than inflicting pain, they simply invite the living into their own isolation. “Death is unending loneliness, why should I be the only one to suffer it?” is a possible motivation here, although it is never explicitly stated beyond a confrontation with a spirit towards the films end.

My issue with all this is I’m still not sure what message this is sending out exactly, I don’t think it’s meant to be pure entertainment or just shlocky, I’m sure there’s some kind of commentary on human isolation, connections, budding technology and how this affects people socially. My best guess is that this is trying to confront the issues of “hikikomori” culture, especially as it was developing at the turn of the millennia, in that many people in Japan were beginning to live in total isolation, almost withdrawing entirely from society. "People don't really connect, you know. We're all totally separate." Many of the deaths in the movie are suicide victims who were living alone, forced into isolation by their work routines or other life circumstances. It’s a real and prevalent issue in Japan to this day, with many people passing away alone and going unnoticed for extended periods of time. Maybe this film is an attempt at painting an image of what can happen to the world should too many people give up on staying connected while living their lives in a more fulfilling manner, and instead resign themselves to being isolated and passing on alone. I still think that the ending sequences feel too obtuse compared to the way the film was set up, and that a less dramatic and more somber ending would have been more appropriate.

I really can’t say this movie was really outstanding for me beyond a few cool visual sequences and some interesting attempts at commentary on human isolations and connections, but these ultimately fell flat in the end given the rather jarring transition into the unveiling of an apocalypse. This one really fizzled out for me.

[animejanaihontounoeigasa]

I also felt that the shift between the two narratives and change to an apocalyptic setting at the very end was a bit jarring. I also was a bit annoyed when characters would split up, even though it was an obvious bad decision. I believe the message of the film was to show how technology can isolate people, hence the ghost that make people lonely and apathetic come from technology. I think the ghosts essentially represent the effect technology has on society as a whole.

[jessiepinkmanlover]

I think what you said about ghosts essentially representing the effect technology on society best summarizes the point of the movie and why I enjoyed it. The atmosphere of the film is purposely bleak to show this encompassing alienation this wave of technology has brought onto Japan. I do agree the apocalypse was a tad bit unnecessary. I think the message would have been more potent if everyone just continued to deal with this excruciating loneliness as alienation tends to be a slow and painful process. Instead the apocalypse feels way too jarring and a transition just for the sake of an “intense ending.”

[jessiepinkmanlover]

Pulse - Kurosawa

I enjoyed Pulse way more than Ringu. The ideas we discussed in class about the techno-horror modernity felt much more prevalent and well executed here. The visual effects of the ghosts in the computers really encapsulated the static uneasiness that accompanies computers. Especially at the time, the way computers are made to seem as such intimidating alien objects really captures the horror in the introduction of the hyper-tech era. This is accentuated by juxtaposing the computers with a main character who knows nothing about them and has little care for them. It’s heightened even further by our other set of main characters tending to a garden throughout the film. Furthermore, the garden plays such a pivotal role in contrasting life and death as the plants represent the living and beauty of nature compared to the horror of the artificial the ghosts continuously exploit. The way Kurosawa manages to frame things is done so well it kept me so intrigued throughout the absurdity. The ghosts are absolutely terrifying through their minimal approach. Less is more! Horror doesn’t need to be over the top with lots of jump scares to sell its terror. The shadows of their former victims you see throughout the film are so utterly creepy it works so well. They are slow uncomfortable shots of the ghosts statically moving throughout the screens to really highlight the horrible artificial mediums can bring. This film expertly shows the depths of shallowness humanity has fallen into in hyper-accelerated late stage capitalism. This is reinforced through the gritty solemn nature of the composition of shots. The lights feel so dim and the characters seem to all lack a certain edge of liveliness in them. It’s like they know the bleak era they live in but are hypnotized by its ubiquitous and inescapable nature. They are subject to something they can’t possibly conceptualize which makes societal collapse an inevitable byproduct. This critique of the modern age is so interesting it made me really appreciate this kind of horror movie. As if it’s a “neo-horror” film that uses ghosts to heighten its terror but its real terror relies on depicting the hopelessness of our modern world. It really feels Kurosawa is ahead of his time with his depiction of human infrastructure transitioning from marvel of humanity to our unforeseen destruction. Part of me, admittedly, wishes the end was not a destruction of the world as we know it trope. I thought the messages of extreme loneliness being the equivalent to death and thus the transformation of the characters to ghosts was such a good modern critique. There does not need to be an end of the world when this alienated state where genuineness is dead is the equivalent to the end of our humanity. Being trapped in this state alive is far more terrifying than real physical annihilation and that message is a far scarier warning to the audience that may be trapped in it as we speak.

[trainman1547s]

Ring - (JPT3391)

The Ring is a Japanese horror movie that was substantially less scary than I remember it being the first time around.

In the movie we follow the curious story of a cursed video, where anyone who watches it receives a phone call, and then dies one week later. Everyone outside the incident treats it with a mix ranging from idle amusement to outright disregard. The same applies to the protagonist here, until her niece dies and all evidence points to this mysterious video

For my increasingly less historical historical context, I’m gonna talk about media because the movie makes me think of that, mostly in the nature of the curse itself. At the beginning of the movie, nobody is entirely sure where the tape and the story of the curse started in, with everyone asked saying “I heard about it from someone else” or “didn’t that start in Izu?” I think this lack of collective responsibility here is really interested and ties in a lot to the way information spreads on the internet. I could liken it to a meme where it feels like nobody comes up with memes most of the time, they just kinda show up and get passed around. However, I think the more relevant example here based on the 1998 release date would be chain emails. I feel like every one in this class has at least once gotten an email or chat message saying “if you don’t share this to 5 people within one week she will appear in your closet” or other such nonsense. Similarly to the video in the ring, there’s no source determined here, we never 100% know where the video comes from, as the movie makes us doubt the spiritual explanation.

Additionally, I think there is significance in the way to rid oneself of the curse. Over the movie, Tomoko is the only one who successfully rids herself of the curse. However, doing so is not a result of any of the efforts she makes with her husband, traveling to a remote island, staying up late in the library, late nights sifting the video itself. None of it matters. The only action that does matter is perhaps the most negligent one, where Tomoko copies the tape to show to her ex-husband. Although it must also be said that we’re never 100% sure that was the case, as the characters are never able to understand and rationalize the supernatural. Their attempts to comfort Sadako also don’t have any apparent effect. The unfortunate circumstances of the tape and it’s curse happened and there’s nothing you can do about it except to pass it on – shift the problem to someone else. I think this avoidance is kinda feeding into a postmodernist idea of lack of meaning or reason. Sometimes things just happen.

[animejanaihontounoeigasa]

I also thought the movie was not that scary. I was waiting the whole movie for it to get scary, and then it happened for like 5 minutes at the end, but that was it. The movie also reminded me of chain emails, like if you don’t forward this email to 5 friends you will have a year of bad luck. Like you mention, most people don’t seem to know where the rumor of the tape came from so it is similar to a meme or creepypasta in that aspect.

[jessiepinkmanlover]

I also agreed this movie was not scary. It was a little bit at the end but really it just had some interesting creepy shots. The whole concept of an “evil tape” just felt so so cheesy I could not really delve into the subject matter or atmosphere. I also thought your points about getting rid of the curse were interesting. It annoyed me that their efforts amounted to nothing, and it felt like there was literally no point to this other than for the sake of having a twist. The point about a postmodernist lack of meaning or reason framed this ending in a more interesting light to me and I wonder if there was any thought given to that when making the film. 

[jessiepinkmanlover]

Ringu

I must admit, I’m not really a fan of horror movies. Unless it is something quite unconventional to me (i.e. Hereditary), I’m often unable to really absorb myself in the atmosphere it calls for and find myself waiting for the final cheesy reveal. This movie is sort of somewhat an exception. On one hand, it is clearly unique and strays away from some of the gore and jump cuts often associated with the genre. However, the absurdity of Ringu and some of the cheesy effects were just too much for me. The distortion elements in regards to the killer tape were creative but they were so over the top in their attempt to be creepy that I just found myself wondering what was the point. It seemed to take itself way too seriously at several points when some humor could have seriously been used to undercut some of the absurdity. Some positives included the use of medium and long shots to build up suspense which was executed extremely well. The suspense was even further elevated with the countdown of the days throughout the film which continuously kept me engaged. This suspense almost feels wasted though with the reveal a copy of the tape is needed to avoid the monster. This was so unsatisfying and a borderline deus ex machina in what was shaping to be an interesting conclusion to this detective plot.  I also think there’s an interesting commentary on traditionalism vs modernity. The horror exacted throughout uses a VHS tape as a medium for its terror and the first victims we see are teenage girls. Furthermore, televisions are used repeatedly as a symbol of terror and are framed in such an ominous light. The film feels angry toward modernization and the ones who have been edged to the side in this ever-changing world. I think I should learn to appreciate the novelty of a film such as this and its clear impact on the culture despite my grumblings. It has some great effects for its time and it feels like it's trying to be a genuine movie rather than just some cash grab. This is admittedly made harder by the subsequent films that would make this a blockbuster franchise. I think the hardest thing for me is the fact that this film just does not compare to some of the recent ones we’ve seen. I have been spoiled by the riches of incredible contemporary films and this feels like one watched more for the sake of filling the horror genre than actual invigorating film. While I applaud the use of numbers and long shots to build effective suspense, that is about all this film does for me and I do not see myself ever watching it again.

[cjloogy]

Swallowtail Butterfly – スワロウテイル

A wonderful mess, that’s how I could describe this film. A world that is dirty, cruel, unforgiving, and beautiful all the same.

The movie went on for quite a bit, but it used all of that time pretty wisely to really flesh out the world they were trying to depict, a world showcasing a wide breadth of humanity, extending past nationality, race, class, gender, and language. Really, characters were speaking Japanese, English, Mandarin, or Cantonese, so I’m very impressed with the dialogue and how it was handled here. Language is played around with quite a bit as well, in particular with the name of the city and the immigrants, the city has the nickname of Yen Town (円都, en to), and the immigrants are referred to with a loose homophone Yen Thieves (円盗, en tou) which is anglicized as “Yentown” in dialogue and subtitles. Many different characters clung and clashed with each other in this bizarre but inspiring plot, and if this film did anything well, I think it allowed every character to have their chance to shine.

It's like multiple genres are belnding together to tell this tale. Characters start off mostly supporting one another until they all gain a path to fortune that allows them to realize their various dreams, but this comes at the cost of their solidarity with one another. With Glico we have a distinct musical element, with Ryo Ranki and Fei Hong we have a crime drama, and with Ageha we have something of a social realist journey. While Ryo certainly has some antagonistic qualities, I couldn’t really pin him as the villain, just another character in the film, and in a way the protagonist of his own story, just as any of the central characters were. Everyone is finding their own way, living the lives they want to live the way they want to live them.

One thing that was always shrouded in ambiguity was Ageha and her actual heritage, we never find out if she was Japanese or an Asian immigrant, and this was certainly by design. Her actual bloodline is not important here, she is from Yentown, that is her home and something she learns to hold onto with pride. It’s a bold statement that stands against the stubborn ideology of Japan surrounding racial purity and only valuing a specific birthplace. She manages to find a path forward in life that is fulfilling for herself and allows her to hold those she cares for close to her, and it has nothing to do with her race or nationality, but the resolve she gains from her experiences. She was forced to confront her own set of issues on her own and managed to help the people close to her along the way. Despite how wild the events got, I think her growth and resolve was great to witness, and she ended up being a wonderful protagonist.

In the end the animosity anyone held has vanished, and we were left to wonder how this world might progress in the future, as they left some plotlines up in the air. I don’t think it was necessary to know Ryo Ranki’s fate, or the fate of the other Yentowns. We already saw the most important parts of these characters and what the film really had to say about them, that is their journey, not their destination.

[jessiepinkmanlover]

I really appreciated what you said about her actual bloodline not being important. The “stubborn ideology” in regards to ethnic purity in Japan certainly played a role in the film not going into their ethnic origin. It is not important because her home is YenTown and the community she is apart of their is her true home. The use of language especially highlights the criticism of Japanese culture towards immigrants as the Japanese are often held back by their lack of bilingualism throughout the film. This further emphasis the fruitless endeavor of valuing one’s specific birthplace and origin. 

[jessiepinkmanlover]

Swallowtail Butterfly

Swallowtail Butterfly had maybe the best cinematography out of any film we’ve seen thus far. The atmosphere built with what seems like eclectic yet deliberate camera work along with its bold score creates an incredible atmosphere. This is crucial to the postmodern dystopian landscape it seeks to create. By creating such a chaotic dystopian shantytown, the sociopolitical undertones that lie underneath serve as incredibly effective commentary. This especially rings true when considering the ethnic homogeneity that is Japan and the staunch anti-foreign policy that has dominated the state for hundreds of years. The main city of the film, Yen Town, is the complete opposite as it is a cultural and ethnic hodgepodge that consists of multiple languages and identities. Learning about the Zainichi the last couple of weeks made watching the treatment of Chinese people in the film especially interesting as there were clear parallels between the two groups. At the forefront, however, the film’s strongest point is the focus on the multifaceted characters that make up the heart of Yen Town. The initial perception is the town is cunning, cold, and greedy which reminded me of Life of Oharu. This perception slowly unravels as we learn how complex these citizens are and how they’re really a product of their environment. The way the citizens were portrayed was probably the most interesting aspect of the film and it really hit home on the “we live in a society” idea. This makes the dynamic with the mafia and the introduction of the ability to make counterfeit notes such an interesting dilemma as it presents both opportunity and danger to fairly innocent young girls. Overall, I thought this was an incredible movie and I've been pleasantly surprised by how much more contemporary films we’ve discussed in class lately. This movie has thought-provoking commentary that really makes you think about how we perceive immigrants and the impoverished without considering what led them to their situation. The statements made about the absurd obsession in Japan over racial purity are strengthened by the little attention to the ethnic origins of many of the cast as their home is Yen Town and that’s all that matters. Even more so, this is a heartfelt tale about the power of a community and the effect it can ultimately have on one’s actions. No amount of money could grant them the sense of community they’ve been afforded in Yen Town and that is truly priceless. Also, the action in the last two films has been impeccable and Japanese film really knows how to do art house action well. 

[senior-year-blog-project]

Go

I didn’t know what to expect from Go. I knew going into it that it would be a coming-of-age story but not much else. This movie dripped with early 2000s energy. The constant references to popular culture and what was going on was very nice. It felt like a product of its time. Everyone loves a brooding young man with clear anger issues. From the beginning of the movie, Sugihara was very relatable and felt like a good protagonist. The movie did a good job painting a very clear message about Sugihara. He wasn’t a bad kid instead he was a product of the various generational traumas and racism that affected him. He wanted to fit in and tried his best at times. However, at one point he became very disillusioned with the whole idea of integration. He realized that he would never be able to find a place within society due to his heritage. This frustration led to Sugihara engaging in dangerous activities that included attacking cops and getting into many fights. The movie did a good job setting up the fact that Sugihara didn’t necessarily want to fight it’s just he felt like he needed to.

From the beginning of the movie, Sugihara states that this movie is his love story. This love story takes a while to start up. However, once it is in motion the movie does a good job building the relationship up. There was a little to be desired from the relationship. I wish there was more time dedicated to building that bond. I only have this criticism because the breakup felt bad but not like it hit hard enough. It hurt when she told Sugihara that they couldn’t be together because he was Korean. It felt like the one safe space that Sugihara had was destroyed. At no point in this movie is Sugihara in peace other than when he is with Sakurai. Seeing how he reacts when she expressed her racist sentiments was saddening. He is very quiet for most of it and then curtly answers her before leaving. You can tell that he is just disappointed and upset more than angry. We then get a scene where he chooses to knock out and then talk to a cop. This is the first time we see Sugihara feel comfortable talking about his feelings to someone. It was even more important because he was opening to a Japanese cop. This cop turned out to be more accepting than most of the people Sugihara had interacted with. It was a nice scene and did a good job showing the process that Sugihara was going through.

I think my favorite part of this movie was Sugihara’s relationship with his father. There was love there. However, there was a lot of anger and resentment. You can tell Sugihara blames his father and resents him due to the struggles he must go through. You can also tell that his father cares about him and wants to see him succeed. However, his father has no way of communicating this healthily. The relationship is so strained that when his father opens to him Sugihara’s only desire is to fight him. That is why when Sugihara states that he knows that his father only became South Korean for his future it felt gratifying. Being a child of two immigrants I understand the struggle and resentment that can be passed down due to that process. However, it is always important to remove that your parents took this dangerous step knowing the consequences. They knew that they wouldn’t be accepted and that they would face many hardships. But they also knew that this was the only way to give their child a real future. This part of the movie was conveyed beautifully and was capped off well.

[animejanaihontounoeigasa]

I also really liked the early 2000’s energy of this film, it had this sort of edge to it that is representative of that era. I also found Sugihara to be relatable, as he is just a regular student trying to make the best of the rough situation he finds himself in due to the society around him. Sugihara’s struggle to find his identity made for a very compelling and relatable narrative, as it is a challenge many people in college face to some degree as well. I also found Sakurai’s reaction to Sugihara’s Korean heritage to be heartbreaking, as it shows the racism against Korean people in Japanese society. The scene with the cop was a good contrast, and it was nice to see him treat Sugihara as just a normal guy.

[jessiepinkmanlover]

I fully agree with the fact Sugihara’s relationship with his father is the most interesting aspect. His father clearly loves him but his upbringing and hardships make it impossible to communicate this properly. This makes the fighting between the two so interesting as there is clear love in the brutality but a sadness in it being the only real avenue for them to express their feelings. I think this aspect though makes the film particularly interesting and reflects a dynamic many immigrant fathers and their future sons deal with. 

[jessiepinkmanlover]

Go

This movie was a refreshing take on the absurdity of discrimination and nationalism and the way they can shape a society. Go criticizes this in a glitzy manner that allows for a light-heartedness in the midst of such a heavy-hitting subject manner. The voiceovers from its sage-like protagonist, surrealistic touch, and semi-comedic asides add a sense of vitalness to the film without necessarily wearing the film's purpose on its sleeve. Go is obvious in its point of senseless discrimination and beats this idea into the viewer but its high-spirited tone makes these themes so digestible. If anything, the comedy and absurdity blended throughout makes you realize even further the ridiculous emphasis on a “pure Japanese” ethnicity. This is the main conflict of Sugihara as they must deal with their status as a zainichi despite the ease in blending in with all of Japanese society. It makes Sugihara repeatedly question his identity and his determination to live up to the stereotype the rest of society is so willing to behold on him. He embraces his fighting prowess and rebellious nature which is so clearly fueled by his “outsider” status. Ultimately though this is a love story. Suginachi loves Sakurai and desperately wants her to accept him for him despite his true origins. This ends up being the biggest dilemma for Suginachi as his nonchalant swagger is tested by something bigger than any façade. Love can be so powerful and terrifying it can strip one of any identity they try to embrace or emulate. Even more alarming, it can be so disarming it reveals one’s true nature and allow for true vulnerability. Suginachi realizes this and the necessity in revealing his ethnicity only to his own dismay. Sakurai rebukes him for not telling them before and their rejection is symbolic of Japanese society. However, she eventually apologizes and learns to accept for who he is which is even more symbolic of the majority of the society. While there will always be groups who use marginalized groups as scapegoats for the tribulations of society, people have an inherent desire to understand and love. Sakurai is the beacon of hope that outshines the hate masked over many and love can triumph even the most perpetuated ideas in society. 

The boxing scene was also amazing and I thought the idea of violence between Suginachi and his father was very interesting. While the casualness of their brutality could be seen as furthering the Korean stereotype, I think this is an outlet for love that he and his father express. Suginachi was taught to box at a young age and he was forced to learn by the necessity of the prejudice he faced. His father recognized this and while this “tough love” has obvious toxicity, I think society forced their hand the fighting between the two can be seen as an expression of love given the circumstance. 

[nohkabukihere]

The Family Game

The Family Game (1983), which was directed by Yoshimoto Morita, is definitely a movie that I found very strange and had a hard time following in terms of themes. The general plot was simple enough to follow, The father of the Numata family hires a tutor (Yoshimoto) to help his youngest son (Shigeyuki) get better grades in order to get into a good high school. During the film we see this happen despite Yoshimoto’s strange methods and behavior, and eventually Shigeyuki gets into the top school. However, the movie itself is anything but simple. 

The only thing I could come up with theme wise is the lack of true connection between the family. It seems that the only thing they ever talked about amongst each other was school, whether it be parent to child talking about grades and class, the parents talking about their kids going to good schools and having poor grades, or briefly the two brothers discussing high school. This is practically the only topic ever covered. We also see a sort of stereotype in Shinichi (the older brother) being a star student and Shigeyuki failing to live up to the expectations set for him by his older brother. The father is mostly absent and when we do see him he is either alone, drunk and/or drinking, or talking to his family about school. The mother seems to just be doing her motherly duty and rarely does anything else. 

The only time any of the family members have any kind of meaningful conversation is with someone outside of the family. Yoshimoto seems to be a sort of outlet for the family in some aspects. Shigeyuki and him talk about hobbies, relationships, interests, and other things not related solely to school. Yoshimoto and Shinuchi also have a conversation not related to the topic of school. We see that the mother struggles when she is presented with a topic of conversation outside of her standard life (granted, dealing with her distraught neighbor about the death of her in-law isn’t exactly an easy topic to approach). I did find that scene very interesting because we get assaulted with numerous sounds such as the phone, her son, the neighbor, and the tea kettle all rising until it cuts to silence. 

Another theme that might be present is the Numata family being stuck in the past. As I mentioned there is this idea of the family only existing through their family status as mother, father, brother, etc. I guess the best way to describe it would be like the idea of the nuclear family. We see them eat dinner in relative silence with maybe a bit of conversation. However, when we look at the family of the girl that Shinicchi starts to date/hang out with, they sit around in a circle and also watch TV at dinner. The entire feel and setting of their house was so much different than the Numata household. 

There are so many things about this film that confused me. Why did Yoshimoto occasionally act like a creep? The kiss was weird and him putting his hand on the thigh of a mostly naked child was unsettling, but then it never seemed like anything was off other than that. Why did he chug literally every beverage he was handed? I really wasn’t sure about the ending dinner scene where Yoshiomoto starts throwing food everywhere. It was like no one noticed until it got to a certain point of chaos, which I’m assuming is commenting on the families lack of awareness, but it was very strange. I also don’t know what the ending with the extra loud helicopter and the boys passed out, followed by the mom sleeping at the table was. My brain wants to tell me that there was a gas leak and they died, because I can’t make sense of it. 

In terms of the cinematography I did really like the use of sound building up to cut into silence. This was done multiple times throughout the film and I think it worked well each time. I also really like the shot of Yoshimoto chasing Shigeyuki down the stairs from a distance with Yoshimoto one flight behind. 

Overall, I thought the movie was alright. Definitely not in my top, but I liked it more than a few of the others we’ve watched in class. I’m sure once we discuss it I will understand it a bit better and maybe grow more appreciation for it.

[jessiepinkmanlover]

I really agree with your point about the family only existing through the individual roles of a nuclear family. I think this does speak to the idea of them living through the past and relying on what is expected out of then societally to function. They are almost too much of a family in a sense that there is no freedom from the domestic constraints imposed on them and they lack meaningful dialogue with each other. You really only see this frustration with the mother as she is dealt the worst hand of the cards of domestic life. 

[jessiepinkmanlover]

Family Game

I relatively enjoyed this movie. It was fun! Some of this movie really confused me but I think I was just overthinking it looking for some really nuanced hidden meaning behind the absurdity. Really, I think I’m just not used to eastern media's depiction of coming-of-age family movies. I do think however, this movie is a satire on the typical dog day family genre. The family all play such stereotypical tropes it's as if they are making fun of their own social role within the family. The father is the typical raucous drunk who lacks a meaningful relationship with his kids and treats his wife as a typical housewife who is seen as a servant before anything else. The mother is the overlooked servant of the family who is disrespected, and at times, invisible to the family. The two boys are typical teenagers who fluctuate between rebellious and hardworking in response to what is demanded out of them. They are a typical dysfunctional middle-class family with a flare of ridiculous eccentricity to make it satirical. This is most apparent with the oddball tutor who manages to bring out the characterization of the family and essentially serve as a mirror to their own idiosyncrasies. The tutor was such an interesting character since he was by far the funniest one in the film. Every scene he was in was by far the most captivating and he ironically was clearly the alpha male of this story. He got his way with seemingly little effort and has a beautiful girlfriend despite being a low-level tutor. It's even funnier that Yoshimoto is well aware of his lowly social status as he says no to tutoring Shinichi and says women do not like him because he has no money. This only adds to his bravado and charm as it makes his feats that much more impressive. I do find some of his comments toward Shingeyuki a little troubling as they seem rather sexually promiscuous despite him being a minor. I’m not sure if this was just for comedic effect or if there was a bigger message at hand, but it felt unnecessary. I still found him to be by far the most interesting character, and I think the family keeping him as Shingeyuki’s tutor despite his extreme methods speaks to Japanese culture’s obsession with excellence in school. This is apparent with the constant focus on entrance exam scores and the sheer amount of studying required to have a high rank in school. The ranking system itself shows the obsession with competitive measures in schooling to create an academic hierarchy. This obsession speaks to a relative coldness that broods over working-class families and makes the contrasting absurdity that much more amusing and satirical. Molina pokes fun at the rigid expectations of Japanese children to succeed and shows this hypocrisy through the cluelessness and indulgence of parents. 

[sprout3391]

Funeral Parade of Roses (1969)

Watching Funeral Parade of Roses was like watching a sequel to Vivre sa Vie. I recall the presentation in class about Nagisa Oshima and how he was heavily influenced by Jean-luc Godard. This film felt even more Godard like than Cruel Story of Youth. I say this partially because Funeral Parade of Roses feels very French in aesthetic. To the point that when I got to the scene at the graveyard, I was taken aback, as the graveyard is unmistakably Japanese. Eddie’s initial appearance also looked similar to Anna Karina’s appearance in Vivre sa Vie as Nana. In fact, there were several scenes that reminded me of that film. There was one scene where Eddie was walking in town, and the scene was shot in a first-person point of view. This was shot in a similar way where Nana was also walking on the streets, in a first-person point of view. In both scenes, people on the streets had their eyes focused on the main character. Another scene placed Eddie in front of a bunch of densely packed posters, which reminded me of another scene in Vivre sa Vie where Nana also stood in front of a wall with a similar aesthetic. This also might be a symptom of how much I think about Vivre sa Vie.

Look how similar their hairstyles, eyebrows, and eye makeup look.

Outside of how much Funeral Parade of Roses reminded me of Vivre sa Vie, the experimental editing and the non-chronological order of scenes were fascinating to me. I loved the way Eddie’s past was slowly revealed and the cutaways of related imagery. For example, the dramatic cuts between Eddie’s reaction to spilled ramen and to the ramen itself, a subtle foreshadowing to the gruesome end, as ramen kind of resembles spilled guts. Less subtle scenes of foreshadowing included the scene where Leda asks the mirror who the fairest one of all is and Leda’s dolls. As Leda, the current Madame of the gay bar she works at, asks the mirror who is the prettiest, Eddie arrives to the bar, reflected next to Leda. This shows how Eddie is aiming to replace Leda as Gonda’s lover and the Madame at Genet. Leda’s dolls were the most explicit of predictions, like a nod to the original Oedipus story where the oracle of Delphi prophesizes the marriage of Oedipus to his mother. This film also acknowledges its Greek origin with images from other Greek myths, like Medusa severed head and Prometheus’s punishment.

I also liked how Funeral Parade of Roses does not fit any genre. It has elements of horror, humor, and documentary. Some shots utilized a rotating camera and high light and dark contrast that imitated horror. The interviews of the various actors read as a documentary. The fight scenes and urinal scene read as comedy. Funeral Parade of Roses refuses to be constrained by any genre,  style, or aesthetic, which is why I find this film to be so compelling.

[intro-to-japanese-film-blog-2022]

Your comparison to Godard is very apt. As this came towards the end of the 60s, the New Wave in both Japan and France had already been very developed. This later part of the wave was very important because it would lead to Franco-Japanese productions, like Ōshima’s In the Realm of the Senses, which helped to create and fund a lot of films that normally would not have been made. The New Wave in both countries happening at the same time allowed for a lot of ideas and techniques to be borrowed and developed across the globe.

[jessiepinkmanlover]

The comparison to Godard and the French New Wave is very perceptive. This movie has such a French aesthetic and it’s clear how much it borrows from its French contemporaries. Furthermore, I agree that a lot of what makes this film compelling is the lack of a single genre boxing it in. It feels refreshing and you really understand the idea of making unique art through this film.